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着白胡子和头巾关于移动在建筑物的前面加上一个精心制作的外墙的魔术师。他间谍金色甲虫，关于人类婴儿的大小，靠在墙上。他一把抓起来，让人想起了火，扔在甲虫。它会把火在童话的形式，她的六个翅膀拍打她上升的火焰之上。仙女，在魔术师的惊愕，有她自己的神通。喷泉出现时，第一喷射水;那么，事情升温的头巾小人。撰稿{} [email protected]

A devilish-like man appears in a puff of smoke. He conjures up a dress which stands by itself, and vanishes. A woman appears in the dress, and, taking a blanket makes various pretty girls appear and disappear. She then transforms her clothing into that of a man, and lines up several pedestals. There is a sudden rush of steam, and the same pretty girls we've seen before are shown standing on them. The magician then turns them into roses, which she drops on a little table. Taking several glasses and lining them up on the table, she pours wine into each, and yet again we are shown the same pretty girls, nodding and smiling. The woman pours water into the wine and the images of the women dissolve. The pedestals and the table vanish in a burst of fire, the woman bows, and changes herself back into the dress magically. The dress now stands up by itself once more, the devilish-like man appears again, and after making it disappear, explodes in a puff of smoke.

意大利名导Giovanni Pastrone与西班牙名导Segundo de Chomón合作的一部巨作。

A conjurer in Chinese garb jumps out of a box that's about two feet wide and six inches high. He conjures an assistant from the same box plus a young woman, who then disappears into the box. He continuously picks up the box and shows us the empty inside. Next, he removes many small boxes from the larger box, stacks them on top of each other after making a base row of six or seven. The stacked boxes (magic bricks) become a movie screen, revealing the image of a laughing child. The magician knocks the bricks down with his wand and the child disappears, one row at a time. The conjurer has the bricks fly back to re-form the screen, and we see the Pathé Frères cock.

在电影成为艺术之前，在电影遇到卓别林之前，它还只是一项杂耍，但就是这项杂耍吸引20岁的西班牙少年塞冈多·德·乔蒙告别安稳的生活，聚集到乔治梅里爱和法国百代公司的麾下。后来他曾在巴塞罗那做些为百代电影上色的作坊式工作，1905年又回到法国负责百代的trick film部门，之后的五年间拍出了他最优秀的作品。
当时欧洲来自日本的杂技表演团非常流行，因此我们看到了某种程度上“恶搞”他们的影片：Les Kiriki acrobatas japonesas（1907）
毫无疑问，摄像机被安放在演员们面对的正上方，乔蒙大概不是第一个想到这么做的人，但《日本杂技》或许是最早的欺骗观众思维能力而不仅仅是眼力和直接判断力的电影。尽管在1910年到来之后，乔蒙和梅里爱一样落伍了，但是我们一样不能忘记这不够艺术但很完美的一环。——张荐嘉博客

In a medieval palace, an astronomer with a telescope shows the king